emma jefferies portfolio
DESCRIPTION
This is a visual overview of my activities as a researcher, designer, educator and writerTRANSCRIPT
Emma Jefferies, ResearcherDesignerEducatorWriter
Developing approaches to facilitate creative practices,
ideas and self understanding
Strategic and lateral thinker
Co-creation approach
Experience in branding, print and interactive
project
Collaborative, re�lective, design-led research approach
Muliti award-winning researcher
Research into innovating collaborative design and
visual practices
EmmaJefferies
Being aneducator
I am experienced in running workshops and delivering
publishing design, innovation design and branding modules. I
really enjoy �inding ways to help students to develop their ideas
and understanding of themselves.
Being aresearcher
I have focused on understanding/innovating
collaborative and visual practices in design, winning
awards for these efforts. This interest stems from a fascination with how people think, interact
and develop ideas.
Being awriter
Through writing I synthesise and
share the various activities that I
have been involved in, winning awards
for these efforts.
Being adesigner
Being involvedin various branding, print and interactive projects, I am passionate about a design having a clear vision and coherent thinking.
Contact Details1 Old Barns Close, Warkworth,
Northumberland, NE56 0TH, UK
www.emmajefferies.com
+ 44 (0) 7764 759 845
Being a researcher
Designer’s roles in a design team
Icebreakers Team communication Reflective skills within a team
Team philosophy Communicating with others
DeBono’s Six Thinking Hats
Collaborative enquiry metaphors
Copyright © 2009 DesignCollaboration, Northumbria University. All rights reserved.
DesignCollaboration
Designer Client Role Play
Handout 2 - Mask Template For Client and Designer Characters
Designer & client role play
Personas
Mindmapping
Team assessment
Positive critique
Assess
Resolving conflicts
Being a researcher
Form & manage Understand Communicate Reflect
I recognised the need for design education to shift focus to reflect industry: from a culture of individualised learning, towards the fostering of collaborative learning in design teams. Sharing this opportunity with senior academics a project team was formed that developed a successful bid for funding to create online resources (featured below) to enable tutors to foster collaborative learning in design teams – http://designcollaboration.org.
Fostering Collaborative DesigningDevelopment of online resources enabling tutors to foster collaborative learning in design teams
The Collaborative Learning Enhancement Tools
6. Designcollaboration.org launch event to communicate the value of CLE tools
Copyright © 2009 DesignCollaboration, Northumbria University. All rights reserved.
DesignCollaboration
Task 3: Preferred Team Roles
As a team, use the large sheet of paper provided to map out each member’s preferred roles as a
designer and also to note down roles that they dislike and roles to they would like to improve on. e.g.
Task 4: Negotiate Team Roles
As a team, negotiate each member’s role and visually map the results of this conversation on another
large sheet of paper. Each member would have more than one role and these roles can change during
the project. e.g.
Designer’s Roles in a Design Team
STUDENT EXERCISE
Designer’s Roles in a Design Team
Jo Bloggs
Sharon Smith
Jo Bloggs
Fred Brown Will Grey
Will Grey
Fred Brown
Artist Manager Communicato
r
In
vest
igator
Jo Bloggs Sharon Smith
Jo Bloggs
Fred Brown Will Grey
Will Grey
Fred Brown
Artist Manager Communicato
r
In
vest
igator
Jo Bloggs
Sharon Smith
Jo Bloggs
Fred Brown
Will Grey
Fred Brown
Artist Manager Communicato
r
In
vest
igator
As an individual which roles do we like? As an individual which roles do we dislike?
As an individualwhich roles do we want to improve upon?
Jo Bloggs
Sharon SmithJo Bloggs
Fred Brown
Will Grey
Fred Brown
Artist Manager Communicato
r
In
vest
igator
OurTeam Roles
‘What worked?’‘What was so-so?’‘What did not work?’
c. Feedback for students and tutors
a. Design tool
Team communication guidelines
Communicating with others
Designer & client role play
Personas
Mindmapping
Form & manage Understand Communicate Re�lect Assess
Project Planning ToolP1: Tips
P2: Planning Tool
Roles of a Design TeamPart 1: Introduce to roles
Part 2: Review and com�irm roles
Resolving Con�lictsPart 1: Review videos
Part 2: PracticeExercises
SH
SH NB PT
PT4 NB4 NB1
WT4 MZ2 NB2
SK SK
NW3 PT 2 IM 2
KM NB MZPFSH CA
WT1 NW2 IM1
MZ2 PT3
MZ3
Key
Re�lective skills within a teamP1: Introduce re�lection to a teamP2: Exercise & explain a facilitating role
DeBono’s Six Thinking Hats
Team assessment
Positive critique
NB3 SK ?
Video (Issues number)
Ideas based on interview with industry
Resource is developed
New resource
Video can be cut if required
Coll
abor
ativ
e Le
arn
ing
Enh
ance
men
t To
ols
1. Identify and map collaborative problems through tutor questionnaires and brainstorms
2. Studio trials of an initial set of CLE tools with undergraduate and postgraduate students
Illustrated below is the process I followed to form the collaborative learning enhancement (CLE) tools. At the same time I worked with the project team to develop designcollaboration.org to present the CLE tools. Further direction of this project is to develop a self-diagnosis tool for student design teams.
3. Set up and film interviews with leading design practitioners to expand CLE tools
4. Refine CLE tools list and develop film storyboards to support tools
d. Revise tool by reflecting on tool in use and consult project team if required
b. Implement and document tool in use
5. Consult project team and finalise the CLE tools
Being a researcher
Design of TV Setup The following areas were prevalent in the positioning of the TV in the home:
TV viewing stylesThe following TV viewing styles of watching were prevalent:
Parental control
Controlling TV watching by recording every children’s programme on the Humax box.
Me-time viewing
Watch and catch up on the week’s TV or their favourite box-set.
Passive viewing
Sometimes referred to as ‘background noise’ the TV is often put on to accompany other activities or chores.
Designing of TV spaces
Everyone had actively considered their TV spaces and had ways they would like to improve them.
Joined up thinking
People don’t always have the ideal setup to enable the multitude of activities they would like to perform through or with their TV.
On-demand viewing
People have certain TV activities that they actively select at the time that suits them.
Social viewing
People come together to actively watch DVDs.
Family viewing
Families with younger children often have their watching habits dictated by the children.
Children viewing
Children from age 1.5 expect to watch want they want to watch when they want to watch it.
Altruistic viewing
Watch TV for the sake of spending time with others.
Scheduled viewing
This viewer wants to know what they will be watching in the week ahead (e.g. soap operas and must-see TV).
I led a weeklong research project with the Centre for Design Research product design team to observe and interview people on their TV habits for a major electronics company. This resulted in the identification of nine emerging TV viewing styles and two insights into how people design their TV set up. The findings are described below.
Being a researcher
Emerging TV HabitsCapturing insights on emerging TV habits for a major electronics company through ethnographic research
...doing
A review of design educational texts found visual skills are fostered through social processes of...
Observing
& drawing
Tutorials
Design critiques Visual &
critical theory
lecturesres
Visual
exercises
...discussing, demonstrating,
feedback & re�lection
Design educator Design student
Feedback leads to re lect on work &new ideas
Feedback leads tore lect on & selectionof new visualapproach(es)Research Question
The literature review revealed a lack of practical knowledge in how visual skills are actually fostered. In addition, there is no formal structure in undergraduate education to enable students to re lect on how they work - if re lection occurs, it tends to be sporadic and undocumented. Therefore encouraging active re lection was identi ied as an opportunity to enable students to take more control of visual development. This led to formulating the research question: How are visual skills fostered today, and how could they be fostered in the future?
Designbrief
A studentdesigns,records actions
& showsdesigns
Educatorprovides feedback
Design critique
Learning community
Tutorial
Finding 1Feedback gained from the community facilitates students to re�lect on their visual actions.
Finding 2 The educator creates an environment for feedback & guides individual development.
Educatorand peersprovide feedback
Learning community
Designbrief
Finding 4 Communication tools provided a common language to share experience of visual engagement, developing the community’s capability to identify and articulate where visual development was required.
A studentdesigns,records actions
& showsdesign
Finding 3Feedback gained through communication tools heightens an individual’s awareness of their own and others’ visual skills, facilitating re�lection & the selection of alternative ways of engaging in visual inquiry.
Communicationtools
How visual skills are fostered today How visual skills can be fostered in the future
RECONSIDER
Below are illustrations of the research question and key findings obtained during my PhD investigation. The findings could have potential value in enhancing design-client relationships through workshops to enable others to: understand how they are seeing; and share that understanding.
Fostering Visual SkillsUnderstanding and innovating the fostering of designers’ visual skills
Multiple award
winning research
Being a researcher
Visual Inquiry Personas - an example of a communication tool created during the PhD Through observing students’ re�lection on their work I became aware of three patterns of engagement in visual inquiry. I gathered more insights that highlighted new areas associated with each pattern (re�lection and barriers) to form the Visual Inquiry Personas, which used a Sherlock Holmes metaphor. The personas were used during design critique; they provided a common language to discuss and identify visual development. This page storyboards the elements of each persona.
Research Intent and Findings
What is looking and seeing?Looking is a passive visual experience where the designer looks around at the familiar; they recognise what they �ind, and learn through trial and error without necessarily understanding how or why they have achieved the �inal result.Seeing is an active visual experience, where the designer inspects the familiar until it becomes unfamiliar; stepping outside and seeing the bigger picture and questioning what they do not understand.
Mrs. Hudson the Housekeeper who is looking but not seeing
Dr. Watson who can look and see
Sherlock Holmes who knows when to look and when to see
How do you see?
‘My seeing is based on a limited amount of knowledge. I normally learn through trial and error, looking at the detail, but �inding it hard to see the bigger picture.’
How do you re�lect on what you see? ‘I really don’t know what to re�lect on in terms of what questions to ask.’
What is stopping you from seeing?
‘Maybe I do not question as I do not know what to question and I �ind it hard asking people for feedback as I don’t know what they are talking about… so I just get on with my job.’
How do you think you can improve?
‘Maybe I need to take time to analyze and evaluate what I am seeing, and understand how it connects to see the bigger picture. And start to ask people for feedback.’
How do you see? ‘I normally learn through trial and error, I ask peers for feedback on my work, and look at how other people or experts are doing the same job. I suppose I look around and see by questioning what I am doing in my work.’
How do you re�lect on what you see?
‘I re�lect on my work.’What is stopping you from seeing? ‘Sometimes I don’t ask the right questions, and I am unsure how to apply my knowledge to a new situation. Also being a perfectionist sometimes holds me back.’
How do you think you can improve? ‘Maybe I need to take more ownership of how I see, through re�lecting on how I see. Also, understanding what are the right questions to ask my peers.’
How do you see?
‘I develop my own way depending on the situation I am investigating. I actively seek to update my knowledge. I learn through trial and error but this is a systematic process, developed through past notes.’
How do you re�lect on what you see? ‘I re�lect on what and how I am seeing on a regular basis.’
What is stopping you from seeing? ‘Sometimes I over-re�lect and that stops me from having new experiences.’
How do you think you can improve? ‘I think I am improving all the time, through questioning and developing new approaches to how I see the situation.’
Being a researcher
Educators
were
introduced
to the research
question & design
framework
Educators
implement
selected teaching
approaches into
their modules
Co-participants
(students)
I regularly
observed the
teaching approaches
in action & framed
questions to
facilitate debate
with educators
User tested the
teaching approaches
in learning situations with students
C A
B
C
Phase 2 - User test teaching approaches with educators
Researchquestion &
designframework
Implement a teachingapproach
C
A D
E
B
I designed a prototypeteachingapproach
I observed and re�lected on the teaching approach in situ
When observation or problems were realised
through re�lection, I framed questions for co-participants
to gain feedback
Feedback led me to redesign the approachGain feedback
from co-participants
(students & educators)
C
Phase 1 - Develop teaching approaches with students
Researchquestion &
designframework
Implement a teachingapproach
Gain feedback from co-
participants(students & educators)
C
A C D
E
B
Designed a prototypeteachingapproach
Observed and re�lected on the teaching approach in situ
When observation or problems were realised
though re�lection, I framed questions for co-participants
to gain feedback
Feedback led to redesigning the approach
Educatorswere introducated
to the researchquestion & design
framework
Educators implement
selected teaching approaches into
their modules
Co-participants(students)
Regularobservation of
teaching approachesin action &
questioning to facilitate debate with educators
User tested in learning situationwith student
C A
B
C
Teachingapproaches
Educators &studentsLearning situationStage 2: Learn through delivery of teaching a
ppro
ache
s
Stage 1: Form research strategy
Analysis framework
Stage 3: Analyse and com
mun
icat
e �in
dings
Design framework
Question
Research Approach Research Process
Phase 2 - User test teaching approaches with educators
Communication of indigh
Future research project
Dramatising Design: Value to Social Innovation Slowing Down to See
1. A qualitative research strategy documented visual development through recording interactions, stories and devised teaching approaches to facilitate debate around the research question
Phase 1 - Develop teaching approaches with students
3. Analyse and communicate findings through visual means
2. The research process
Below illustrates the research strategy, process, and the visual approach taken to share, review and communicate the research findings. From undertaking a design PhD I have realised the importance of being explicit, justifying the process I use and making myself aware of how I engage others when considering problems, situations and solutions.
Being a researcher
Being a designer
Baby BondingA concept service, to enable a mother returning to work to bond remotely with their baby through hormones, pheromones, eye contact & voice
Being a designer
babybonding
Pheromones
The babybonding necklace enables a mother to capture and send her pheromones, make eye contact and talk with her baby. When the baby cortisol hormones are raised, the necklace makes the mother aware that the baby is stressed, where she can respond, comfort and make her baby feel secure through the natural forms of communication the necklace provides.
Through these natural forms of communication the mother and child produce oxytocin, which reduces cortisol levels, promoting calm, well-being and bonding.
Eye Contact Voice
Being a designerBabybonding Necklace
Baby Holder Soft blue shows the necklace is active; after a period of inactivity the necklace will change back to opaque. The mother would be aware of raised cortisol levels, through the holder warming up if the baby is moderately stressed or if highly stressed, the holder softly vibrates.
Baby Display When the product is active, the mother and baby can see each other, and the baby can hear their mother’s voice. For the mother to hear their baby the display is removed from the holder.
Necklace DesignThe uniquely designed necklace is shaped like an egg - a symbol of new life and growth. Reflective of the elements of an egg - the soft blue of the baby holder mirrors the white egg that provides water and the yellow baby display imitates the yolk which supplies food.
Necklace Interactions
Each mother interacted in different ways with the necklace during video explorations. Therefore the babybonding necklace would learn from how a mother interacts with the necklace.
A storyboard of Alice interacting with the Babybonding necklace A primary schoolteacher who has returned to work 4 months after having her baby
After Alice is made aware that her baby is moderately stressed, the necklace would expect her to interact; therefore any definite touch would awaken the product.
Alice is free to communicate with her baby and her pheromones would automatically be captured and transferred to the baby. After a period of inactivity the necklace will go to sleep.
During a busy lesson Alice interacts with the necklece to calm her baby
During playtime, Alice uses the necklece to communicate with her baby
Inactive Active
Being a designer
During lunchtime, Alice interacts with the bonding egg and necklace
Babybonding Egg The bonding egg that accompanies the bonding necklace, is an interactive display that provides the mother with - all the information about the babybonding service; - a personal plan of remote bonding games based on the latest research on infant development; - and a snapshot of her baby’s activities during the day.
Alice selects the animal game to encourage language development.
Alice plays the game by pressing on an animal so the baby can see the animal on the Teddybear cam. She makes the sound of the animal (what does a dog say? Woof! Woof!) into the baby display, that is detach from the necklace.
The baby cortisol level can be measure through saliva or urine. A soft reusable alert strip place near the nappy, detects and alerts the babybonding necklece when levels are high, making the mother aware their baby is stressed.
Alert strips, Caregiver’s Bonding Necklace and Teddybear Bonding Cams
The caregiver wears a necklace and places the Teddybear Bonding Cams where the baby is active during the day. When the baby is stressed these products would sense where the baby is active, display the mother’s face and voice, and transmit the baby’s face and voice to the mother’s necklace.
Being a designer
Babybonding Branding
The packaging is multifunctional as the bonding products are carried, stored and recharged in two pouches: mother and baby.
Brand Intent
Babybonding is compassionate about the natural process of bonding and continues learning to provide a quality lifestyle service.
Brand Identity The identity comprises of soft colours and symbol of the egg reflects the idea of bonding, growth and new beginnings. The brand name and tagline ‘continued bonding between mother and baby’ conveys what the babybonding service offers.
Being a designer
The Babybonding project was conceived in 2003 and redesign in 2011. Through prototyping the necklace from the start of the project, the service was redesign through a review of current research; user engagement; and consulting with technicians, product and interactive media designers and an haptics expect. Below illustrates the approach I had taken to redesign the babybonding service.
babybondingContinued communication between mother and child
2. Aware1. Sleep 3. Communicate 4. Sleep
Stress Interactions
The mother would be aware of raised cortisol levels, through the holder warming up if the baby is moderately stressed or if highly stressed, the holder softly vibrate. Any de�inite touch would awaken the necklace.
When the necklace has been awaken, the mother pheromones are automatically capture and send. In the display the baby can now be seen.
The mother is now free to communicate with her baby, the mother and baby can see each other, and the baby can hear their mother’s voice. For the mother to hear their baby the display is removed from the holder.
After a period of inactivity the necklace will go to sleep.
2. Awake1. Sleep 3. Communicate 4. Sleep
Communicate Interactions
Any de�inite touch would awaken the necklace.
When the necklace has been awaken, the mother pheromones are automatically capture and send. In the display the baby can now be seen.
The mother is now free to communicate with her baby, the mother and baby can see each other, and the baby can hear their mother’s voice. For the mother to hear their baby the display is removed from the holder.
After a period of inactivity the necklace will go to sleep.
Visualisation of Mothers necklace interactions based on video explorations (version 1) Learning states: A point of de�inite interaction that the necklace would capture and learn.
2. Aware1. Sleep 3. Communicate 4. Sleep
Stress Interactions
2. Awake 3. Communicate 4. Sleep
Communicate Interactions
Visualisation of mothers necklace interactions following scenarios (version 2)Learning states: A point of de�inite interaction that the necklace captures and learns.
Response 1: No interactionsThe mother does not interact with the necklace as she can see her baby is being attended to. She still plays a role in caring for her baby as her pheromones are captured and transferred to the baby-bonding cam or caregivers necklace automatically.
Response 2: Caregiver asks for helpAt �irst the mother does not interact with the necklace as she can see her baby is being attended to. When the caregiver asked for help start interacting with the necklace.
Response 3: Mother interacts with their baby when alertedWhen alerted that the baby is stress the mother interacts with the necklace to calms her baby.
The mother would be aware of raised cortisol levels, through the holder warming up if the baby is moderately stressed or if highly stressed, the holder softly vibrates for 30 seconds. Any de�inite touch would awaken the necklace. The mother’s pheromones are captured and transferred to the baby-bonding cam or caregivers necklace automatically.
If the mother does not interact with the necklace the services reviews the caregiver interactions, and after a period of inactivity on the caregiver side the necklace with transition into sleep mode.
After a period of inactivity the necklace will go to sleep.
The mother is now free to communicate with her baby, the mother and baby can see each other, and the baby can hear their mother’s voice. For the mother to hear their baby the display is removed from the holder.
After a period of inactivity the necklace will go to sleep.
The mother would be aware of raised cortisol levels, through the holder warming up if the baby is moderately stressed or if highly stressed, the holder softly vibrates for 30 seconds. Any de�inite touch would awaken the necklace. The mother’s pheromones are captured and transferred to the baby-bonding cam or caregivers necklace automatically. The colour become stronger on the baby display after mother as made any de�inite interaction.
The mother is now free to communicate with her baby, the mother and baby can see each other, and the baby can hear their mother’s voice. For the mother to hear their baby the display is removed from the holder.
After a period of inactivity the necklace will go to sleep.
Response 1: Mother communicates with her babyWhen the baby display is clear the mother can freely communicate with her baby.
Response 2: No interactions When the baby is not near a bonding cam or the caregiver, the necklace would show the last image taken to the mother in the baby display
Response 3: Mother is aware their baby is sleeping When the baby is sleeping the caregiver has the option of informing the mother. But if mother still wishes, she can still communicate with the baby.
Any de�inite touch would awaken the necklace. The mother pheromones are automatically capture and send. In baby is now seen in the baby display.
The mother is now free to communicate with her baby, the mother and baby can see each other, and the baby can hear their mother’s voice. For the mother to hear their baby the display is removed from the holder.
After a period of inactivity the necklace will go to sleep.
Any de�inite touch would awaken the necklace. The mother pheromones are automatically capture and send. In baby is now seen in the baby display.
The mother is now free to communicate with her baby, the mother and baby can see each other, and the baby can hear their mother’s voice. For the mother to hear their baby the display is removed from the holder.
After a period of inactivity the necklace will go to sleep.
When the mother cannot contact her baby, a soft red circle would appear around the baby display and the latest image of the baby would appear.
ZZZ
1. Sleep
If the baby is sleeping the caregiver can tap the baby webcam to let the mother know that they are sleeping, and the webcam sense activity the image will dispear.
The mother would be aware of raised cortisol levels, through the holder warming up if the baby is moderately stressed or if highly stressed, the holder softly vibrates for 30 seconds. Any de�inite touch would awaken the necklace. The mother’s pheromones are captured and transferred to the baby-bonding cam or caregivers necklace automatically. Caregiver makes a de�inite interaction with the necklece to ask the mother to help. The necklece softly vibrate for the time the caregiver interactives with the necklece.
X
2. Video explorations with prototyping necklaces
4. Product development
5. Branding 6. Packaging
3. Personas and scenarios
1. Scoping and research bonding process
Ardent FS (UK) LimitedDeveloping a brand for a financial services company
Being a designer
Ardent FS (UK) Limited is a financial services company dealing mainly in personal and business financial products. They required a new brand and website that reflected the friendly and trustworthy nature of ‘Ardent people’, and their passion for finding the right product for their client.
The final brand is based around the white rose, a famous symbol of the city of York (the home of Ardent’s head office) and a visual representation of the ethos of Ardent.
Being a designerShades of green and purple were used to differentiate the personal and business finance sides of the company, and created a colour palette to accommodate future expansion into other financial products.
Illustrations were used for website visuals (www.ardentfinance.com), to convey a warm friendly feeling - compared to competitors predominantly using stock photography that felt cold and impersonal.
Research (both competitor and visual scoping), generating concepts and associated applications of new product brands were compiled into the client presentation material below.
Movement as MedicineDesigning a diabetes learning pathway for doctors and their patients
Being a designer
During the time I assisted the Centre for Design Research interactive media team on this, their largest ongoing project I produced film concept storyboards; advised on planning film shoots; produced interactive learning materials for doctors; prepared presentation material for engagement with the client; prepared material for focus group sessions with elderly people; and produced user profiles generated from the focus groups to inform the design work.
Working with Newcastle University’s Institute for Ageing and Health, the project aim was to take new scientific data on the benefits of physical activity for people with type II diabetes, and translate it into an engaging learning pathway that helps primary care teams deliver effective lifestyle interventions.
This project is set to be piloted in County Durham, U.K. in 2011 before a major clinical evaluation - http://www.movemedicine.com/.
Being an educator
An introductory module to publishing design asked students to create material to launch an unknown artist that a music company had just signed. As well as teaching the technical skills of publishing during this module, I devised approaches to enable students to develop strong coherent designs and be open to feedback.
Publishing DesignA module on print and online publishing design with first year Interactive Design students
2. Students develop their own rules for how they would like feedback during design critiques
1. Understanding the differences between ideas and concepts
3. Gallery feedback activity
Examples of students’ work
Being an educator
Teaching approaches
This module entitled ‘Ways of Seeing’ asked students to pick a philosophy from a hat and apply the key principles to an interactive flash interface. The social process devised enabled students to share and develop an understanding of their selected philosophy.
The social teaching process
1. As a group, students brainstorm the hippy movement. Based on this activity, students created their own guidance to review their chosen philosophy.
Examples of students’ work
3. Using their brainstorm students were placed into opposing philosophy groups, and asked to discuss and view images from the viewpoint of their chosen philosophy.
2. Students read a number of books on their chosen philosophy and created their own brainstorm.
4. Students sketched out each others interfaces.
Being an educator
Innovation DesignA module on innovating interfaces with first year Interactive Design students
BrandingAn introductory branding module with first year Motion Graphics and Animation Design students
CO
RPO
RA
TE
BUSINESS CARD
FOUNTAIN PEN
SEAL STAMP
(+43) 2164 2268
Haydn Vin Ltd,Sterneckstr 49,
5020,Salzburg
LETTERHEAD
(+43) 2164 2268
Haydn Vin Ltd,Sterneckstr 49,5020,Salzburg
Senta Hadyn
Cheif Executive Officer
Mr A Smith126 Cumwhinton Road,Sheildfield,CARLISLE,CA6 9NG
(+43) 2164 2268
haydn vin ltd,Sterneckstr 49,
5020,Salzburg
COMPLIMENTS SLIP
ENVELOPE
CONSU
MER
The classic crisp and fruity taste of white wine. Haydn Vinoffers tempting choices across the range, whether its acheeky summer thirst-quencher or a dinner party tasting.
From our classic Chardonnay to our Pinot Grigioand Sauvignon Blanc for a more exotic tasting wine.
All ar also avalible in our Black Label and Special Reserveranges, for an extra special treat.
White F A M I L Y W I N E S
The classic, original taste of Haydn Vin. The unmistakable taste of classic flavours, made using the same
ingredients, methods and techniques used in Haydn wines centuries ago. The secret recipe, that has brought
pleasure to the lips of tasters for years remains the same to this very day.
RoséDeliciously friuty, and bursting with flavour. Haydn Vinoffers tempting choices across the range, whether its acheeky summer thirst-quencher or a dinner party tasting.From our classic Shiraz Rose to our White Grenacheand White Zinfandel for a more exotic tasting wine.
All ar also avalible in our Black Label and Special Reserveranges, for an extra special treat.
The full bodied taste of rich red wine. Haydn Vinoffers tempting choices across the range, whether its a
sneeky late night cap or a dinner party tasting.From our classic Merlot to our Cabernet Sauvignonand Shiraz Grenache for a more exotic tasting wine.
All ar also avalible in our Black Label and Special Reserveranges, for an extra special treat.
Red S P E C I A L R E S E R V E
Haydn Vin’s Special Reserve range uses only the very best grapes, hand picked and filtered from the Haydn family vinyard.
Loveringly fermented using secret techniques handed down from generation
to generation of our family. Giving a naturally unique and esquisite drinking
sensation.
B L A C KL A B E L
Haydn Vin’s Black Label range uses the same excellent grapes, hand picked from the Haydn family vinyard.
However, our Black Label wines are Matured in oak barrels until they are just right for drinking. Giving a fuller,
matured, unbeatable flavour.
W I N E G U I D E
CO
LLEC
TIO
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20
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WINE COLLECTION BROCHURE
MINI WINE GUIDE
BOTTLE BAG
BOTTLE RIM
HADYN WINE SELECTION
BOTTLE TOP
COMPA
NY
THE QUICK BROWN FOX JUMPS OVER THE LAZY DOGthe quick brown fox jumps over the lazy dogOPTIMA FONT TEST
GRIDED LOGO WITH ICON
GOLDPantone 873 U
SIGNATURETraditional
DARK GREYPantone Black 7 U
SUPPORTModern
OFF WHITEPantone DS325-9C
ACCENTContemporary
WHITE
REQUIREDPaper
PANTONE COLOUR SWATCHES
HAYDN WINE RANGE
PHOTOGRAPHY OF HAYDN VIN WINE
Being an educator
For this module students developed a brand for a new Czech Republic vineyard or cafe shop. As well as taking them through the key elements of a branding process, I worked alongside students to develop a clear vision and coherent thinking throughout their brand. Examples of their work can be found below.
Workshop on visual development with school teachers in Chicago at theInternational Visual Literacy Association conference
WorkshopsDelivering workshops with postgraduate design students and an international audience
Workshop enabling students to visualise how they learn and wish to learn
Being an educator
Being a writer
Being a writer
Developing approaches to facilitate creative practices,
ideas and self understanding
Strategic and lateral thinker
Co-creation approach
Experience in branding, print and interactive
project
Collaborative, re�lective, design-led research approach
Muliti award-winning researcher
Research into innovating collaborative design and
visual practices
EmmaJefferies
Being aneducator
I am experienced in running workshops and delivering
publishing design, innovation design and branding modules. I
really enjoy �inding ways to help students to develop their ideas
and understanding of themselves.
Being aresearcher
I have focused on understanding/innovating
collaborative and visual practices in design, winning
awards for these efforts. This interest stems from a fascination with how people think, interact
and develop ideas.
Being awriter
Through writing I synthesise and
share the various activities that I
have been involved in, winning awards
for these efforts.
Being adesigner
Being involvedin various branding, print and interactive projects, I am passionate about a design having a clear vision and coherent thinking.
Contact Details1 Old Barns Close, Warkworth,
Northumberland, NE65 0TH, UK
www.emmajefferies.com
+ 44 (0) 7764 759 845
Hope you find what you see of
interest and, if you do, please get
in touch,
Yours,
Emma